PANORAMA Special Program » PARADE Candie Boy Arianna Del Grosso Italy 2016 Club Amazonas Roberto Fiesco Mexico 2015 Dusk Jake Graf UK 2017 For the Good Times Andrés Daniel Sainz Spain 2017 Lenny Camille Beglin France 2017 Loris Is Fine Simone Bozzelli Italy 2017 Mum, I'm Back Dimitris Katsimiris Greece 2017 The Catch Holly Brace-Lavoie Canada 2017 The Other Side Rodrigo Alvarez Flores Mexico 2016 The Tiger’s Fight ... PANORAMA Special Program » DIVERGENT MINDS Boundary Bartosz Brzeziński Poland 2016 For the Children Bruno Catarino Italy 2016 Mathieu Priscillia Piccoli Canada 2016 Normal Autistic Film Miroslav Janek Czech Republic 2016 OverLove Lucas Helth Denmark 2017 Sacred Hair Mario Morin Canada 2017 Thea Halvor Nitteberg Norway 2016 PANORAMA Special Program » NEW WORLD Across the Line Nadav Shlomo Giladi Israel 2017 Comrade Sebastian Martin Genovski Bulgaria 2017 Genaro Andres Porras, Jesus Reyes Colombia 2016 Her World Cristian Scardigno Italy 2017 It's Raining Ciro D'Emilio Italy 2017 Kinshasa Hyo Kaag Netherlands 2016 Les Miserables Ladj Ly France 2017 Tabib Carlos D'Ursi Spain 2016 The All Seeing Blind Cihan Özdoğan Turkey 2017 The Elms ... PANORAMA Special Program » Children AMI Gonzalo San Vicente Germany 2016 Awesome Beetle’s Colors Indra Sproge Latvia 2016 Free as a Bird Joyce van Diepen Netherlands 2016 Golden Hour Claudia Vogt Germany 2017 Little Gangster Arne Toonen Netherlands 2015 Little Heroes Juan Pablo Buscarini Venezuela 2017 Not One of Us Bill Jarcho USA 2017 Private Party Octav Chelaru Romania 2017 Secret Amit Hagin Germany 2017 Stella1... PANORAMA Special Program » GENERATIONs At Home Francois Raffenaud France 2016 Behold, Such Clown Jacob Pilgaard Denmark 2017 Bitter Danielle Shvalboym Israel 2016 Here I Come Alena Oleynik Russia 2016 Level Up Nikita Belorusow Russia 2016 Rules Yassen Genadiev Bulgaria 2017 The Club Esteban France 2017 The Evans Girl Val Jashari USA 2016 Transition Milica Tomović Serbia 2016 We Love Moses Dionne Edwards UK 2017 ... PANORAMA Special Program » BALKANORAMA Ambi Marija Apchevska Macedonia 2017 Astrometal Efhtimis Kosemund Sanidis Greece 2017 Brazuca Faidon Gkretsikos Greece 2017 Elene Sezen Kayhan Turkey 2016 Into the Blue Antoneta Alamat Kusijanović Croatia 2017 Iron Story Zlatko  Kalenikov Macedonia 2017 Mary Juraj Primorac Croatia 2017 Outskirts Sinan Kesova Turkey 2017 Passenger Cem Ozay Turkey 2016 Phantom Limb Michael Fela... SHORT DOCUMENTARY FILMS - TIFF 2017 (15'th edition) » 1,4 Sextillion Litre Doro Götz Germany 2017 8 Days of Parlor Zoe Phylactidou Cyprus 2016 Born of Stone Emilio Bellu Italy, Czech Republic 2016 Dragon Circle Gertrud Schulte Westenberg Germany 2016 Evripidou 14 Michael Demetrius Greece 2016 Golden Hour Claudia Vogt Germany 2017 Happy Happy Baby Jan Soldat Germany 2017 In Search of the Land Without Evil Anna Azevedo Brazil 2017 Jungle Colia Vranici France 20... DOCUMENTARY Mid-length - TIFF 2017 (15'th edition) » Everybody Knows... Elizabeth Murray Kristi Zea USA 2016 Imma Pasquale Marino Italy 2017 On the Edge of Life Yaser Kassab Syria 2017 Prohibited Visit Nikos Theodosiou Greece 2017 Saint Lazarus's Miracle Nicolas Muñoz Avia Spain 2016 Valentina Maximilian Feldmann Germany 2016 VIDEO ART - TIFF 2017 (15'th edition) » Brutes Are Afraid of Silence Étienne Boulanger Canada 2016 Ex Terrat Reinhold Bidner Austria, France 2016 Final Gathering Alain Escalle France 2017 Finish Saeed Naghavian Iran 2017 Genesis Abtin Mozafari Iran 2017 Hey You! Tessa Garland UK 2016 Hiwa Jacqueline Lentzou Greece 2016 Hysteria Maurice Kelliher Ireland 2017 Label Amir Lashkari Iran 2017 Lying Women Deborah Kelly Australia 2017 mondriaTI... Short Student - TIFF 2017 (15'th edition) »   Beer & Calippo Paul Ploberger Austria 2017 Best of Everything, Always Alexios Koukias-Pantelis UK 2017 Boundary Bartosz Brzeziński Poland 2016 Buoyancy Simon Valentin Denmark 2017 Casting Katarzyna Iskra Poland 2017 Digital Immigrants Dennis Stauffer, Norbert Kottmann Switzerland 2016 Donkey Xote Ottó Bánovits Hungary, Sweden 2016 Eat me! Ilina Perianova Bulgaria 2016 Empathy (a digital love letter) ...
Tuesday, 17 October 2017
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John Cassavetes

"American Dreaming"

curate by Ray Carney

Titles Of Films

The Killing of a Chinese Bookie
A Woman Under the Influence

In the spring of 1960, John Cassavetes was a young actor who had played a series of undistinguished roles in a string of low-budget B-movies and television shows. Six months later, he was being hailed as one of the most promising directors in the world. In July, his first film, Shadows, played to standing-room-only audiences at the National Film Theatre’s "Beat, Square and Cool Festival." In August, it played out of competition at the Venice Film Festival and received a special critics’ citation. In September, it played at a special screening at the Cinémathèque Française in Paris, where approximately a thousand people were turned away from the box office. In early October, it played in the London Film Festival, to rave reviews and a sustained ovation from the audience. And a week later, on 14 October, it opened at London’s Academy Cinema, playing to capacity crowds and taking in more money than any film in the theatre’s twenty-five year history.
Cassavetes attended the opening with members of the cast and crew, and was over the moon with delight. His 16mm movie, made for $40,000 with unknown actors (none of whom had ever played an important film role before) was hailed by one critic as "a major breakthrough in the art of the cinema." Another wrote: "I unhesitatingly pronounce Shadows the most artistically satisfying and exciting film I have seen in a decade." Newspapers from The Times and Observer to the Daily Mirror and Daily Express ran laudatory reviews, and the most important film magazine of the era, Sight and Sound, devoted sections of three successive issues (autumn 1960, winter 1960–1, and spring 1961) to discussions of the film and an interview with the film-maker.
What most captivated the critics was the spontaneity and speed with which the movie had been made. Shadows itself ended with the declaration: "The film you have just seen was an improvisation," and the press pack proudly proclaimed: "Not one word of [the] dialogue was written. Not one scene was detailed in script." It described how the crew had "grabbed" most of the footage on New York streets: "They concealed their camera in subway entrances, restaurant windows, the backs of trucks." When interviewers asked Cassavetes to tell them more, he not only bragged that the whole project had been accomplished in forty-two days and nights, but said that it could have been done even more quickly if he had not occasionally had to suspend work while his young actors went off to appear in other projects to earn money. He told them the sound was a little rough because it was completely "live" — unlike a typical studio production, nothing had been looped or "faked." Then he regaled them with stories like the one about how the police had tried to shut down the "outlaw" production — at one point firing a gun over the actors’ heads to stop a scene.
What no one suspected was that it was a pack of lies. Most of Shadows was not shot on "location" or on the streets of New York, but on a stage. No policeman had ever fired a gun at the actors — or over their heads. More than half of the sound was not "live," but had been dubbed, looped or otherwise manipulated during the editing process. And, far from being a six-weeks’ wonder, Shadows had taken almost three years to make. Finally, notwithstanding the final title card, at least two-thirds of the film was not an improvisation, but was written by Cassavetes in collaboration with a professional Hollywood screenwriter. Every one of the scenes the critics praised in his "masterpiece of improvisation" had been scripted.


RAY CARNEY received his A.B. from Harvard magna cum laude and his Ph.D. from Rutgers (where his dissertation -- on William Wordsworth's process of poetic composition in The Prelude, The Ruined Cottage, and The Lyrical Ballads -- was supervised by William Keach and read by Richard Poirier and Thomas Edwards) passing his oral examination (conducted by Richard Poirier, Paul Fussell, and David Kalstone) "With Distinction." He also did separate periods of study with Philip Kapleau in Rochester, New York and Walter Nowick in Surrey, Maine. He has been an Assistant Professor of English in the English Department of Middlebury College (teaching English and American literature), William Rice Kimball Fellow at the Stanford University Humanities Center (working on a project on performance art and the intellectual background of the stand-up comedy routines of Lenny Bruce, Jonathan Winters, and Richard Pryor among other figures), and Associate Professor in the Humanities Program of the University of Texas (teaching interdisciplinary American studies, focusing on the relationship of nineteenth- and twentieth-century American art and philosophy).

Courtesy by www.Cassavetes.com


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